Category Archives: Quotations

ShawChicago’s HEARTBREAK HOUSE: Shaw’s Black Comedy

The Great War and its prelude flabbergasted Bernard Shaw more than any other event in his life. In addition, the end of his relationship with Stella Campbell left him as close to heartbroken emotionally as he ever would be. The sobbing, humiliated, protesting, exposed, and unprepossessing character of Heartbreak House’s Boss Mangan reflects Shaw’s emotional […]

The Goodman Theatre: Uncle Vanya , Our Contemporary

Todd Rosenthal’s sublime setting which greeted the audience entering the Owen theater alerted us to what was to come. Among the period pieces of furniture sat a 1950s-style blond wood arm chair and a chrome dinette chair. A 1920s-radio rested upon the piano and a goose-neck electric light roosted nearby. Then came the note by […]

Lyric Opera’s CARMEN: Ashford and Calleja Make History

“Bullfighting is the only art form that both represents something and is that thing at the same time: the matador’s elegant immobility in the face of the bull not only represents man’s defiance of death, it is a man defying death, and there are women who do it too.”[i] In Rob Ashcroft’s magnificent new telling of Bizet’s Carmen, the […]

CST’s Love’s Labor’s Lost: A Charming Delight

Harold Bloom, Yale’s Sterling Professor of the Humanities, has a particular desire to see Shakespeare’s Love’s Labor’s Lost: I have never seen a production of this extravagant comedy that could begin to perform to its vocal magnificence, but I always live in hope that some director of genius will yet deliver it to us. Marti […]

The Irish Theatre of Chicago’s THE WEIR: “A strange [but wonderful] little evening”

When I lived on a five-acre farm in Maine, I found myself strangely fascinated with the behavior of male birds. It seemed that whenever a female swallow appeared the male swallows engaged in all sorts of madcap aerial displays, loop-d-loops, dives, deal falls, etc. On the other hand, when a female cowbird appeared, the male […]

LYRIC OPERA’S MAGIC FLUTE: A Metatheatrical Spectacular

Reviewing an 1879 production of Mozart’s The Magic Flute, the anonymous Chicago Tribune critic noted, “it would be absurd to try to explain the plot…. All sorts of explanations have been attempted but, if anyone ever really knew what it meant, he died before he said anything about it. It is a hodge-podge, nonsense, and […]

Lyric Opera’s DON QUICHOTTE: A Hymn to a Holy Fool

A dying Jules Massenet wrote Don Quichotte knowing the woman he loved, soprano Lucy Arbell, would play the courtesan-lady Dulcinee after his death. Rather than create his own libretto from Cervantes’ mammoth novel, Massenet used Jacques Lorrain’s bastardized and abridged verse play, Le Chevalier de la longue figure, for his libretto. La Lorrain’s short play […]

Interrobang’s THE AMISH PROJECT: An Icon of Forgiveness

In his famous Law of the Drama, the French critic Ferdinand Brunitiere (1849-1906) insists on the primacy of  “conflict” in dramatic literature: “Drama is a representation of the will of man in conflict with the mysterious powers or natural forces which limit and belittle us; it is one of us thrown living upon the stage […]

Lyric Opera’s Lucia di Lammermoor: Superlative Voices Reign Supreme

+ You can hear it in films – not just in The Great Caruso (1951), but also in The Departed (2006), Man on the Moon (1999), two Mickey Rooney  movies, Captain January (1936),Little Women (1933), Scarface (1932) , with the Marx Brothers in Animal Crackers (1930), and even in the Bugs Bunny/Road Runner Movie (1979). […]

Remy Bumppo’s Pirandello’s HENRY IV: A Modern Masterpiece Given Life

Though considered a major modern playwright, the plays of Luigi Pirandello are rarely produced. The reasons are numerous. First, the large casts require large budgets. Second, the plays’ philosophical facades are difficult to crack. And third, directors struggle to find a production style which makes the plays both clear and exciting to an audience. Consequently, […]